Review:
As the title of his latest release suggests, mystery man (or woman) A Sagittariun has been around for a while. It's no surprise then that this release, like the rest of his catalogue, draws on older sources for inspiration. "3--4-3" is constructed from clipped drums, a shuffling rhythm and features the kind of wide-eyed, jazz-tinged keys that you'd associate with classic Prescription releases. Rolando's version of the track features this melodic element, albeit underpinned by a tough, linear rhythm and splintered percussion, while label boss Alex Jones' version is all about a splurging, noisy bass and a low-slung rhythm. The best track on the release however is "Delta House", a slower groove full of demented jazz squalls and a woman moaning ecstatically.

Review:
Following a release on its sub-label, Nick Harris brings his A Sagittariun project to Hypercolour. The title track resounds to cinematic orchestral flourishes and moves rather skilfully from rolling break beats into dance floor friendly kicks. "The Pathway" offers no such musical distraction and centres on tough, insistent kicks, a succession of filtered breakdowns and splintered percussion. To mark his appearance on the label, Hypercolour have commissioned US producer Matrixxman to rework "The Pathway". Taking the tempo down, his version has a cavernous, spacious feel. The kicks feel like they are submerged, but Matrixxman keeps the dance floor focus thanks to the use of rickety percussion and wild horn stabs.

Review:
Following a couple of releases on the Hype_Ltd offshoot under the Analogue Cops guise, Restoration Records founders Lucretio and Marieu get a chance to put out some solo tracks on Hypercolour. Lucretio steps up first, kicking off with the bass-heavy, 8-bit deep house swing of "Vampire Killers", before once again reaching for the cheap-sounding synths and hustling rhythms on "Shinobi World". Marieu opts for a tougher, all-encompassing sound on the boompty-influenced "Corona", all thumping beats, speaker-bothering bass and occasional vocal samples. He continues on this theme with "McGraw", which sounds like a tribute to the Dixie Jazz-sampling madness of one-time classic regulars Mike Dixon and Greenskeepers.

Review:
With releases on Soma, Echocord and Kontra to his credit, it's fair to say that Clementi is one of the most promising new European producers. The Italian producer's reputation gets a further boost with this release on Hypercolor. More techno-centric than the label's usual output, "The War Inside Me" is a driving, heads-down affair, augmented by rapid-fire percussion and dubbed out drums. "THD" is even more functional, with Clementi laying down a drum-heavy track populated only by razor sharp hats and messy chord stabs. However, there is some relief from this approach, mainly on the stepping title track and the more reflective but still pumping dub techno of "Voila".

Review:
Famously, Guy Evans has been producing music since the early '90s, though it's only in the last few years that most of it has seen the light of day. Like his previous full-length, Unearthed Trax, sophomore album Concentric Rhythms is also made up of vintage tracks rescued from the archives. There's naturally much to enjoy, from the fuzzy, full-force Detroit techno assault of "Concentric Rhythm", and the glistening, intelligent techno melodiousness of "Through The Galaxy 93", to the balls-out acid onslaught of "Fresh Horizons" and intergalactic D&B madness of "Banzappa Dub". Happily, Hypercolour has also squeezed in "20 96", a 16-minute trip into the furthest parts of the techno galaxy.

Review:
At times, it really does feel as if DMX Krew must make tune sin his sleep; wherever we look, we find a new EP or album form the man, and all of the highest calibre, too! This time, the long-haired UK techno soldier lands on the ever-excellent Hypercolour with a hefty nine-tracker made up of eerie, slithering techno and cinematic electro. The opener "Spiritual Encounter" is almost enough in term of quality - check those Drexciyan waves - and the res of this beauty develops in similar fashion, from the gorgeous strings od "Bombay Mix", to the grizzly synth-led beats of "Daylight Saving", and the heavy, Detroit style of "Computational Paradigm Shift". Class, through and through.

Review:
Keytar-sporting hero Gary Gritness made his name via a couple of fine EPs for Clone's Crown series, before popping up Hypercolour last year with the similarly cheery, synth-heavy Sugar Cane Chronicles Volume 1. This follow-up picks up where its' predecessor left off, with Gritness delivering a quartet of jaunty, jammed-out synth-funk workouts. Opener "Steady Choosin" feels like Dam Funk after a fist full of happy pills, while "Countin' Up With Starr" pairs a chunkier, tougher electrofunk groove with delightfully spacey synthesizer motifs. The space funk theme continues on "Runner Joe's Revenge", where densely layered electronic melodies create a dreamy but floor-friendly vibe, while closer "Pool Shark Loot" is a supremely Balearic chunk of pitched-down analogue bliss.

Review:
On the Sugar Cane Chronicles Frenchman Gary Gritness follows up a great EP on Clone with some vintage sounding jams covered in the right amount of dust again. With the exception of second track (and highlight) "Stayin' Strong Hard" which is a classic EBM jam that's nice and dark, the rest is pretty optimistic and uplifting nu-disco. "Preachin' Some Tight Game" has the right amount of boogie and analogue soul that would make even Tensnake stand up and notice while the deep disco of "Fly Girls" is worth listening to for the rich tapestries of gorgeous and glistening synths.